In the winter of 1970, Neil Young played a series of solo shows at a small club in Washington, DC. It was a place called The Cellar Door, a room that closed its doors in 1981. The 200 person club played host to many artists that we would now consider legendary, names like Jackson Browne, Richie Havens, Joni Mitchell, Tom Waits, and Neil Young.

Part of a series of archival releases, Live at the Cellar Door is a collection of songs recorded by Neil Young over a three night span in DC. It's will certainly pique the interest of the most passionate Neil Young fans, but also commands a listen because of its uniquely undecorated presentation and intimacy.

Nowadays live recordings are easy to dismiss, and for good reason. Too often live concert recordings are premeditated and lacking in the spontaneity that ultimately draws us to see/hear live music. With Live at the Cellar Door there's a reminder of what that special connection is between artist and audience. The couple hundred people in attendance here are entirely captured and respectful of the performance, and it makes the recording all that more extraordinary. Early performances of classics like "Only Love Can Break Your Heart" and "After The Gold Rush" flourish in such an intimate environment.

Throughout the set Neil hops from guitar to piano, and for the first time ever sits down at the keys to perform "Cinnamon Girl". It's a must-hear moment and easily the highlight of the collection, followed by his stripped down version of "Down By the River". It's fascinating to think that the forethought to record these shows was there. And it's even more impressive that the quality of the recording is as pristine as it is.

As the year winds down there's still time to dig a little deeper into an album from one of music's fastest rising stars, Haim. Three sisters from Los Angeles, Este, Danielle and Alana Haim just released their debut but their careers as musicians started at a young age.

From playing in a family band with their parents to touring with Julian Casablancas of The Strokes and Jenny Lewis performing has been a constant all their lives. Energized and with a musical ambition fully realized, Haim arrives with major ambitions on their first album Days Are Gone.

Their years performing pay immediate dividends on Days Are Gone. The girls are not just dynamic, but confident in their vision. Their comfort in front of an audiences translates to ease in the studio. Musically the touchstones are fascinating as their transcend genres and decades of music. From classic inspirations like Fleetwood Man and Tom Petty to 80s synth rock and modern day R&B, these girls pull from across the board. And much like the music they draw from Haim have a knack for coming up that big, undeniable hook as you'll hear on "The Wire", "Falling" and "Forever".

Days Are Gone is full of catchy moments like the aforementioned, and there's going to be a wide appeal for what they do. Lucky for these musical sisters their musicianship is as stellar as their craftsmanship. All three trade vocals throughout the album and can shift from instrument to instrument with ease. Fair to say Haim can set their sights high as they unveil Days Are Gone.
Review by Mike Vasilikos

In the current climate of music there is certainly no lack of talented singer-songwriters. With that said, it's even more impressive when an unsigned, independent voice can grab your attention.

And over the last several months more and more music fans have been captivated by the talents of Australian singer-songwriter Courtney Barnett. Since she started self-releasing her music just last year, Barnett has quickly become a must-hear in Melbourne. And as we get set to turn the calendar here in the U.S., she is an artist to keep an ear and eye on in 2014.

Barnett is closing out the year by releasing a full-length album that combines her two independently released EPs. The result, The Double EP: A Sea of Split Peas, is witness to a unique and ambitious singer-songwriter with immense potential. Barnett, at just 25, has almost a veteran like perspective when it comes to songwriting. She delivers her songs with an almost Dylan-like stream of consciousness. Her lyrics are verbose, quirky and demanding of your attention. The two songs that lead the album "Don't Apply Compression Gently" and "Avant Gardener" are the purest examples of this.

Musically, Barnett isn't an easy artist to typecast. She's far more than your typical singer-songwriter. Her music has hazy, psychedelic qualities enhanced by Barnett's intentionally sluggish delivery and phrasing. There are certainly hints of folk influence, but once you get to songs like "History Eraser", with its Rolling Stones reference, or "David" it's clear that rock 'n roll has played its part in her upbringing. Regardless of where her music fits, Courtney Barnett is sure to excite any music fan and The Double EP: A Sea of Split Peas is just the beginning.

It's refreshing to hear a big time rock star put their mainstream ambitions aside in favor of a passion project. It's even more exciting when the results are as welcoming as the new collaboration between Billie Joe Armstrong and Norah Jones.

For Jones, the side-projects and collaborations don't come as that big as a surprise. But for the Green Day frontman, Armstrong, it would be hard for any fan to see this type of album coming. Armstrong recently consumed himself with the music of The Everly Brothers and subsequently sought out to recreate their music with a twist; a female counterpart. Enter Norah Jones, and welcome Foreverly.

More specifically, Foreverly is a recreation of The Everly Brothers 1958 album Songs Our Daddy Taught Us. Even for fans of The Everly Brothers, this most likely isn't the first album or collection of songs you'd think of. It's not an album of rock and pop delights, such "Bye Bye Love" or "Wake Up Little Susie". Instead it's an album of honest folk songs and traditional Americana. In many ways, to pick this album to cover is an indication that the admiration on the side of Armstrong & Jones is honest as well. Their interpretations are respectable to the originals (it's actually quite fun to listen side by side). And the chemistry between Billie Joe and Norah is quite charming.

For Norah, Foreverly is another testament to her versatility and capacity as an artist. She can sing in just about any venue. For Armstrong, this is really an eye-opening moment. Not only does he deserve credit for instigating the project, but his performance is stellar. Where Green Day has thrived in the pushing the envelope and commercializing punk rock, Foreverly offers an opportunity to widen his artistry even further. He embraces that, and is responsible for one of the year's most pleasant surprises.
Review by Mike Vasilikos

As the Texas based band Midlake were in the middle of recording a new album last year, their frontman Tim Smith decided to part ways. At a crossroads such as that, most bands would probably decide to call it quits.

But for the remaining members of Midlake it was an opportunity to reassess their sound and ultimately assume new roles. The most prominent shift was for guitarist Eric Pulido who moved to the center of the stage as the new lead man.

Essentially having to start the recording process over again Midlake moved forward in creating Antiphon, their most progressive work to date and most engaging in quite a while. The band's fourth studio album still captures the comfort and warmth of their previous work, especially on a song like "It's Going Down" with its lush layered vocals and subtle catchiness. But where their classic rock touchstones may have been tied closer to say, Fleetwood Mac, the band stretches sonically echoing more adventurous, inescapable influences like Pink Floyd.

Where Tim Smith had been the primary songwriter for the band, Pulido is on record stating that Antiphon represents more of a democratic approach. And while all these seem like drastic, sweeping changes, another really nice thing about this new album is that the results play as more of an evolution. The change is frontman, at least vocally, isn't as dramatic as you might expect. And the progressive nature of the album plays as an appropriate next step for the band. All in all, Midlake hit the refresh button and the results are impressive.

Chances are you've come across the work of Jonathan Wilson, even if his name doesn't ring familiar right away. He's been a staple of the revitalized Laurel Canyon music scene out in California. His work as a producer can be heard on records from artists like Dawes, Chris Robinson of The Black Crowes, and Father John Misty.

And his credits as a musician run pretty long, from working with Elvis Costello to Erykah Badu to Shooter Jennings. It can all be applauded, but what shouldn't be overlooked is Wilson's own music. The musician/producer/songwriter just released his second solo album and it's one of the most ambitious albums you'll hear this year.

One thing that becomes obvious pretty quickly upon listening to Wilson's new album, Fanfare, is that recording music is a true, obsessive passion. The nuance to both the music and the sound Wilson creates is nothing short of remarkable. It's reliance on space, energy and mood is reminiscent of something you'd expect to hear from a Pink Floyd record, especially on dreamy moments like "Dear Friend" or "Cecil Taylor". And where he stretches into new musical territory often on Fanfare, songs like "Lover to Lover" are reminiscent of Wilson's debut, and also that Laurel Canyon sound that he's helped to engineer over the past few years.

While the genius of this music really is credit to Wilson, it's hard to overlook the cast of musicians that do lend a hand. Where Wilson has been a go-to-guy for so many artists, some of those folks return the favor on Fanfare. Josh Tillman (Father John Misty) and Taylor Goldsmith (Dawes) are a couple of those people. But keep an ear out for contributions from legendary names like David Crosby, Graham Nash, and Jackson Browne (to name just a few!). They all help round out what is a robust and gorgeous collection.

Seattle's The Head and The Heart claimed success with their debut album in almost storybook fashion. After self-releasing the album, the band's hometown label Sub Pop Records stepped in to sign the band and essentially re-release the album under a bigger umbrella.

With their independent spirit sustained and the charming nature of their music The Head and The Heart enjoyed a seat at the ever-growing folk-rock table. After a whirlwind few years of touring, the band settled down to record their follow-up Let's Be Still. And again, fueled by songwriting partners Josiah Johnson and Jonathan Russell, the band hits a high mark.

One thing that we can assume on Let's Be Still is that the title of the record may have also been a mantra for the band. On the title track the band hints at the fact that their success may have been overwhelming, admitting lyrically that "the world's just spinning too fast/if things don't slow down soon we might not last". "Let's Be Still" gives us perspective, but it also witnesses a songwriting team that can filter emotions in their storytelling in a stylish way. And this is where perhaps the band's biggest strength may lie. As a collection, these songs are filled with lyrical depth that as a listener you just can't anticipate. There's heart-breaking despair written in between the lines of a song like "Cruel". And for as well as "Shake" plays as a musical foot-stomper, the words being sung also beg for your attention.

While the songwriting continues to impress on Let's Be Still, it can't go unsaid that the harmonies are musically the band's calling card. In many ways, The Head and The Heart fill the gap left by fellow Seattle harmonizers Fleet Foxes. And The Head and the Heart arguably stretch those boundaries even a bit more, as you'll hear on Let's Be Still.
Review by Mike Vasillikos

Celebrate the release of Reflektor, the new double-album from Arcade Fire. Much of the album was recorded in secrecy over the last few years, and even less than a week from its release still much of the music has yet to be heard. So this week rather than our typical review, we'll preview what to expect from one of the year's most highly anticipated records, Reflektor.

As a build up to the new album the band has made a few on-stage appearances to unveil new songs. Under the moniker The Reflektors, they took the stage on two consecutive nights in a Brooklyn warehouse and also debuted the disco-inspired "Afterlife" and explosive "Normal People" on The Colbert Report last week. These songs come as follow-ups to the album's title-track ("Reflektor") which offered audiences a darker, more ominous side of the band but with all, if not more, of the ambition we've come to admire. It also features an appearance from David Bowie on backing vocals.

The band traveled to various locations to write, record and produce Reflektor. The energy and spirit of their surroundings seep into these new songs. The band especially credits stints spent recording in Haiti and Jamaica as having had the most significant influence. And that impact is obvious with how dance-inspired some of these early listens are. Part of that credit also goes to James Murphy. The LCD Soundsystem founder helped produce Reflektor and his fingerprints are easy to spot.

With each Dr. Dog record there is an immediate reminder of why we became fans, yet also that inspiration you get from a band that continues to search for new and interesting ways to make music. For over a decade the Philadelphia band has been putting out albums and their latest, B-Room, is as consistent as it is adventurous.

Recorded in a studio that the band constructed prior to the sessions, ¬B-Room is an honest and signature collection of songs.

The title B-Room refers to the studio which, yes, the band built themselves and recorded the album in. And ironically for a band that has loved to tinker in the studio, much of B-Room was actually recorded live. It's a setting that favors the band and their interplay. For years they've conquered stages and built a fan-base through their live shows. Those on-stage dynamics and energy translate to the songs on B-Room. Songs like "Broken Heart" and "Distant Light" crave a live audience. And the band offers up some dreamy soundscapes on the lead-off track "The Truth" as well as the bright & bouncy "Love".

For fans of Dr. Dog, B-Room continues a progression of albums that satisfies on just about every level. Frontmen Scott McMicken and Toby Leaman continue to be wonderful complements of each other. And the band is fully realized and captured in stride on this new collection.
Review by Mike Vasilikos

On Amos Lee's fifth studio album, Mountains of Sorrow, Rivers of Song, the Philadelphia songwriter hit the road with his band and headed down to Nashville, Tennessee to record.

As we've seen and heard with Amos before, he soaks in his surroundings. The results on Mountains of Sorrow showcase that unmistakable, soulful voice with the twang turned up on a collection of songs that would make 'Music City' (as well as Philadelphia) proud.

As you listen to Mountains of Sorrow, you have to credit Amos and his band for continuing to explore new musical territory with each new album. You could deem this a 'country' record (and you wouldn't be wrong). But despite labels or genres, Amos embraces and executes with great engagement. He's right at home on powerful, must-listens like "Stranger" and first single "The Man Who Wants You". With the help of one of Nashville's top producers, Jay Joyce, Amos was able to recruit some truly incredible musicians to help make Mountains of Sorrow pristine. Just listen to "Chill in the Air" and allow yourself to be draw in as Amos and Alison Krauss sing side by side. Same for the title track, "Mountains of Sorrow", which see's Patty Griffin sitting in.

You can also add musicians Jerry Douglas (Alison Krauss) and Jeff Coffin (Dave Matthews Band) to the folks who help round out the album and make Mountains of Sorrow what it is. But just like the past four albums, it's really about Amos - as a singer and as a songwriter. His work is always surrounded with a warmth and a sensitively that's made him such a desirable songwriter to listen to and apparently to work with as well.